Page 34 - Song Ceramics Lunyushanren Collection March 2018 NYC

Fig. 3 Black-glazed ‘partridge feather’ conical bowl, Song-Jin dynasty, 12th-13th century, 20.3 cm. diam. Collection of the National Palace Museum, Taipei.
Photo: © The Collection of National Palace Museum.
圖三 宋/金12至13世紀 黑釉鷓鴣斑斗笠盌（直徑20.3公分） 國立故宮博物院藏

Chinese potters had begun to experiment with high-fred ceramics 的確切意思；但他說的若是「飾赤褐色的點狀、粒狀或斑狀黑
coated with dark glazes, usually dark brown glazes, at least as early as the 釉」，其含義跟傳統定義相符的話，那麼這種釉料或許的確源
Han dynasty (206 BC–AD 220) and had begun to use them with some 於建窯，後來傳至華北，並於北宋晚期的定窯所採納，其後再
regularity beginning in the fourth and ffth centuries, particularly at the 借定窯的影響力，蔓延至金元時期 (公元1115至1368年) 燒造
Deqing 德清 and Yuhang 餘杭 kilns, near Hangzhou, in Zhejiang province
磁州窯系作品的北方窯口。
浙江省杭州市; however, it was only in the Tang dynasty that black glazes
began their rise to prominence, especially at the Yaozhou Huangbaozhen 臨宇山人及哈佛定窯盌所見，正是這種北宋定器獨樹一幟、細
kilns in Shaanxi province 陝西省銅川市耀州黃堡鎮窯 and at the Lushan 意經營的鷓鴣斑釉，即在光潤黑釉之上，飾以短且細的縱向赤
Duandian 魯山段店, Jiaxian Huangdao 郟縣黃道, and Gongyi
褐條紋。盌內的鷓鴣斑佈局疏朗，總體而言規整重複，上沿的
鞏義 (previously called Gongxian 鞏縣) kilns, all in Henan province
斑紋較粗獷豪放，近內底則較纖巧細膩，形成從内底向外的放
河南省. The Lushan and Huangdao kilns produced light grey stonewares
with dark brown glazes typically enlivened with variegated splashes of sky 射狀。盌外格局大致相同，但赤褐條紋更為疏落。兩相比較，
blue, while the Gongyi kilns occasionally produced small bowls with a 金元時期以磁州窯為首的北方窯口燒造的鷓鴣斑釉器物，其點
white glaze on the interior and a black glaze on the exterior. In contrast 狀、粒狀、塊狀或斑狀的赤褐紋雖是刻意為之，但卻較為隨
to the dark-glazed wares made during the Tang at those several kilns, 意，盌外或光素無紋，或飾赤褐斑，或滿掛赤褐釉。
all of which have matte surfaces, the Ding kilns produced wares with
lustrous black glazes, which they did beginning in the eleventh century. 中國人民對黑釉器情有獨鍾，這與他們對黑色漆器的愛好密不
In fact, the Ding kilns were the frst northern kilns to produce lustrous 可分。雖然明清崇尚紅漆，但明代之前的漆器，一直以黑色及
black glazes, setting the taste and the standard for dark-glazed wares 深褐色為佳。唐宋陶瓷常師法漆器，以仿傚該種貴重材質的顏
subsequently produced at other northern kilns.
色與形制。時至宋代，黑色陶瓷需求上升，這亦反映了品茗習
Despite generic use of the term “black glazes,” it should be emphasized 俗之變遷。譬如，唐代尚飲紅茶，據稱其茶色配淡青釉盌尤
that dark glazes made before the Qing dynasty are not truly black; rather, 為美觀，所以越瓷青釉盌大受歡迎。 10 相比之下，宋代流行
they are dark, chocolate-brown glazes that appear black in refected light. 點茶，所用白茶配黑釉盌尤佳， 11 為此南北窯口均競相燒造
Such Song and Song-style glazes show their true brown color in bright
黑釉盌。
light, in transmitted light, in areas where the glaze is thinner, as around
the rims of the Linyushanren, Harvard, and Percival David Foundation 北宋名士好鬥茶之戲，而茶之好壞則據其色香味來定奪。無論
bowls. Although fully glazed, the rims of these bowls appear light— 是鬥茶或品茗，沏茶時均須把適量茶粉舀進溫熱的茶盌，再執
sometimes caramel-brown, as in the Linyushanren and Harvard bowls,
壺注湯，兩者調勻成黏糊狀。調成糊後，再添注熱水，用茶筅
sometimes virtually white, as in the David Foundation bowl—because
環回擊拂起沫。公元十世紀的著錄中提到，調製妥當後，「視
gravity caused the glaze to thin in those areas during fring, just as it also
pulled away the coloring agent, so that the rims appear light. Unlike 其面色鮮白，著盞無水痕為絕佳。…… 以水痕先沒者為負，
white Ding vessels, which traditionally were ftted with metal bands soon 耐久者為勝。」 12
after fring to conceal the unglazed rims, dark-glazed Ding vessels were
據載，北宋品茶名家皆謂茶盌既方便泡茶，亦宜於襯托乳白茶
only rarely banded with metal. 8 In fact, the narrow, “rolled” metal bands
湯。黑盌最宜襯托茶色白者，而斗笠盌至為可取，因其設計最
seen on black Ding bowls today, such as that on the bowl in the David
Foundation Collection, likely were added much later either to set the 適於用茶筅擊拂茶沫。
bowl apart from the ordinary and thus mark it as special, or to conceal a
總的來說，定窯不僅創燒了光滑腴潤的黑釉，更是首推鷓鴣斑
bit of damage to the lip.
黑釉的華北窯系。公元十一世紀及十二世紀初，白定在宮中備
Northern Song black-glazed Ding wares may be left undecorated, as in 受青睞，其實黑定亦不遑多讓，尤其是像臨宇山人珍藏極品斗
the David Foundation bowl, or they may be embellished with so-called 笠盌這類鬥茶佳器。作為宮廷推崇之物，定窯製品不僅開風氣
‘partridge-feather’ mottles, or zheguban 鷓鴣斑, as in the Linyushanren
之先，更奠定了審美和技術的標準。至於其他窯口，如當陽
The Classic Age of Chinese Ceramics 古韻天成 — 臨宇山人珍藏（三） 32